Morning Dew, Cryptical Envelopement-> Drums-> The Other One-> Cryptical Envelopement-> Good Morning Little School Girl, Me & My Uncle, Alligator-> Drums-> Turn On Your Love Light
: Tape degradation at the beginning of Morning Dew; decreases throughout the track
: announcers are audible when Me & My Uncle cuts in; once they stop talking, the quality of the recording changes. As a result, in my opinion this whole recording may be from a radio broadcast, or someone might have patched that bit in to a mildly degraded SBD.
: Alligator cuts in with vocals.
: On http://www.deadlists.com, Jim Powell sez: "There is at least one additional drummer (a conga player) involved in the prolonged percussion jam following Alligator, and probably several -- sometimes said to be Santana's rhythm section. At the beginning of the drums someone probably not Jerry is playing guitar percussion (i.e. clicking a pick across damped strings). The "jams" interspersed are Jerry jamming with this percussion ensemble. There is also an unidentified additional vocalist audible twice during Lovelight. It is possible this tape is actually from 5/11/69; see Comments under that date."
LineageSBD > MR > PCM > DAT > CD > EAC > WAV > shntool > SHN
September 23, 2016 Subject:
update on the location of this show
It is likely that this show took place on 1969-05-11, at the Aztec Bowl, San Diego State University, San Diego, CA. This seems to be the best available recording thus far, in comparison to SHNid #6296.
April 20, 2015 Subject:
Here is a portion of the article in RS the last reviewer referenced; it makes it clear that this material is from some other show:
[Garcia] was backstage at the Robertson Gymnasium at the University of California at Santa Barbara, backstage being a curtained-off quarter of the gym, the other three quarters being stage and crowd. His red solid body Gibson with its "Red, White and Blue Power" sticker was in place across his belly and he caressed-played it without stopping. Rock the manager was scrunched in a corner dispensing Tequila complete with salt and lemon to the band and all comers, particularly bassist Phil Lesh who left his Eurasian groupie alone and forlorn every time he dashed back to the bottle.
"Sure, I'll fuck up for an audience," said Mickey from behind his sardonic beard, bowing. "My pleasure, we'll take you as low and mean as you want to go."
"See, it's like good and evil," Jerry went on, his yellow glasses glinting above his eager smile. "They exist together in their little game, each with its special place and special humors. I dig 'em both. What is life but being conscious? And good and evil are manifestations of consciousness. If you reject one, you're not getting the whole thing that's there to be had. So I had a good time last night. Getting in trouble can be a trip too."
His good humor was enormous, even though it had been a bitch of a day. The travel agent had given them the wrong flight time and, being the day before the Memorial Day weekend, there was no space on any other flight for all fourteen of them. So they had hustled over to National Rent-a-Car, gotten two matched Pontiacs and driven the 350 miles down the coast. Phil drove one, and since he didn't have his license and had six stoned back seat drivers for company, he had gotten pretty paranoid. The promoter, a slick Hollywood type, had told them at five in the afternoon that he wouldn't let them set up their own PA. "It's good enough for Lee Michaels, it's good enough for you," he said, and they were too tired to fight it.
The Bear, who handles the sound system as well as the chemicals, was out of it anyway. When the band got to the gym, he was flat on his back, curled up among the drum cases. Phil shook him to his feet and asked if there was anything he could do, but Bear's pale eyes were as sightless as fog. By that time the MC was announcing them. With a final "oh, fuck it, man," they trouped up to the stage through the massed groupies.
Robertson Gym stank like every gym in history. The light show, the big-name band, and the hippie ambience faded before that smell, unchanged since the days when the student council hung a few million paper snowflakes from the ceiling and tried to pass it off as Winter Wonderland. Now it was Psychedelic Wonderland, but the potent spirits of long departed sweatsocks still owned the place. That was okay, another rock and roll dance in the old school gym. They brought out "Lovelight" again; this time the groove was there, and for forty minutes they laid it down, working hard and getting that bob and weave interplay of a seven-man improvisation that can take you right out of your head. But Jerry kept looking more and more pained, then suddenly signaled to bring it to a close. They did abruptly, and Jerry stepped to a mike.
"Sorry," he shouted, "but we're gonna split for a while and set up our own PA so we can hear what the fuck is happening." He ripped his cord out of his amp and walked off. Rock took charge.
"The Dead will be back, folks, so everybody go outside, take off your clothes, cool down, and come back. This was just an introduction."
Backstage was a brawl. "We should give the money hack if we don't do it righteous." Jerry was shouting. "Where's Bear?"
Bear wandered over, still lost in some inter-cerebral space.
"Listen, man, are you in this group, are you one of us?" Jerry screamed. "Are you gonna set up that PA? Their monitors suck. I can't hear a goddamn thing out there. How can I play if I can't hear the drums?"
Bear mumbled something about taking two hours to set up the PA, then wandered off. Rock was explaining to the knot of curious on-lookers.
"This is the Grateful Dead, man, we play with twice the intensity of anybody else, we gotta have our own system. The promoter screwed us. and we tried to make it, but we just can't. It's gotta be our way, man." Ramrod and the other 'quippies were already dismantling the original PA.
"Let's just go ahead," said Pigpen. "I can fake it.''
"I can't," said Jerry.
"It's your decision," said Pig.
"Yeah," said Phil, "if you and nobody else gives a good goddamn."
But it was all over. Bear had disappeared, the original PA was gone, someone had turned up the house lights, and the audience was melting away. A good night, a potentially great night, had been shot by a combination of promoter burn and Dead incompetence, and at one AM it didn't matter who was to blame or where it had started to go wrong. It was too far gone to save that night.
"We're really sorry," Phil kept saying to the few who still lingered by the gym's back door. "We burned you of a night of music, and we'll come back and make it up."
"If we dare show our faces in this town again," said rhythm guitarist Bob Weir as they walked to the cars. The others laughed, but it wasn't really funny.
They rode back to the Ocean Palms Motel in near silence.
"When we missed that plane we should have known," said Bill Kreutzman. "An ill-advised trip . . . ."
August 2, 2007 Subject:
To shed some light on the reviews . . .
Rolling Stone published an article on the Dead in late August of ‘69 that contains a write up of this show. In it, Jerry was very disgusted with the quality of the sound system. They were using the local PA because Bear was absent due to legal trouble.
April 30, 2004 Subject:
This is a duplicate of the material listed as having been performed on 5/11/69 San Diego. Apparently there is some confusion as to which date this performance belongs. FWIW, the disc in my possession was sent to me labeled 5/29. Fun show regardless.
April 29, 2004 Subject:
Sound quality is poor, but the performance is great!
April 26, 2004 Subject:
question the source
Great music & energy, however the sound is very skeevy to have this stated lineage, it sounds like their are at least 2 cassette generations in the mix. Go for the Pow Wow shows if your looking for a pristine sounding May '69 show.
favoritefavoritefavoritefavoritefavorite ( 1 reviews ) Source: Matrix 70% sbd/30% aud; Soundboard source: SBD > Cassette Master > Reel > Dat (48k); Transfer Info: Dat (Sony R500) > Sound Devices 744T > Samplitude Professional v10.02 > Cool Edit Pro v2.0 > FLAC; All Transfers and Mastering By Charlie Miller and Audience source: 2x Nakamichi CM300/CP1's > Sony TC-153SD > Maxell XLII's. Mics on stand, set up in center of upper balcony behind the stage, mics pointed at rear-facing P.A. Taped by Tim Friend.